By Carl Begai
Ayreon mastermind Arjen Lucassen has returned to form with his progressive metal opera project’s ninth album, The Source. In 1995 he introduced his “more is more” mindset with The Final Experiment, setting the tone for each future production stamped with the Ayreon name, garnering a loyal cult following and high expectations from those fans. It was the third album, Into The Electric Castle released in 1998, that laid a solid foundation for Lucassen’s multi-vocalist epics, and The Human Equation in 2004 that put him on the metaldom map as a creative force to be reckoned with, or respected at the very least. There have been a few missteps along the way depending on who you talk to – 01011001 from 2008 and The Theory Of Everything from 2013 are not the easiest albums to get into – but the fans are responding well to The Source. In fact, the constant comparisons to The Human Equation and Into The Electric Castle suggest that Lucassen may have struck musical gold once again.
“I know what you mean,” Lucassen agrees. “I had that feeling a twice before because everything came together so easily. The cast came together, the music came together, the story was easy, which are things I had with The Human Equation and Into The Electric Castle. Sometimes that happens and I just try to steer things in the direction they need to go.”
The ease with which the material The Source came together could have and probably should have been a bit frightening for Lucassen. How many musicians have boasted about new music coming together effortlessly only to be carved by the press once it goes out to the public?
“I’m insecure as hell about that,” he admits. “I start with 50 ideas and I hate most of them, really (laughs), because I figure they’re not good enough. The ones that I do like, I’ll play them to Lori (Linstruth / girlfriend, ex-Stream Of Passion guitarist) and she’ll be like “Well, yeah, okay…” So, I’m completely insecure until the very last moment, which is what makes me a perfectionist. That’s what makes me work so much harder, especially when I hear other stuff like the new Opeth or the new Devin Townsend. That’s when I’m thinking ‘Oh my God, my stuff doesn’t even get close to that…’ (laughs). The reactions to The Source have been so good that the insecurity is gone, and usually it’s always there.” Continue Reading
By Carl Begai
There’s a music snob stigma attached to progressive metal and prog rock based entirely on one’s chosen approach. Young musicians with hearts set on the brass ring try to out-“Metropolis” Dream Theater at every turn (yeah, good luck with that), the diehard fan(atic)s will argue at length as to why their heroes can do no wrong even when the latest epic is clearly a cut/paste car crash of odd time signatures and über-noodling, and the traditional metalhead legions scoff at the thought of math pits versus mosh pits. Early on in their career New Jersey progsters Symphony X were seen as yet another band to be emulated, worshipped and slagged for their niche brand of music, but they’ve broken free from that particular cell block in a big way. It’s a process that began in 2007 with their Paradise Lost album – a metal slab nobody had counted on – took root in 2011 with Iconoclast, and has now grown into something particularly ominous with new outing, Underworld. Symphony X is still prog metal, absolutely, but it’s nice to hear a progressive band that’s not trying to blow away their listeners with 16 time changes in five minutes just to prove they have the chops.
Ask guitarist Michael Romeo and he’ll tell you Underworld is about the songs as a whole, not the flash inside them.
“We were talking about doing different things after eight albums,” he says. “The Rush album Moving Pictures came up a lot in conversation because every song on that record is great. Yeah, there’s some progressive stuff on Underworld but in the end there are just great songs on the record. The only thing we were really thinking about was trying to not to repeat something we’ve done. We wanted to do something a little bit different but have the elements of what people know from Symphony X.”
“The goal was for things to be cohesive and to the point, and if the songs catch people off guard, cool. Yeah, we’re a progressive band, so there’s nothing wrong with putting some measures in 7 somewhere, but we do it without taking away from the songs.” Continue Reading
By Carl Begai
Vocalist Russell Allen, best known as the frontman for prog metal gods Symphony X, offers his thoughts on his other band Adrenaline Mob when discussing their new album, Men Of Honor:
“This is a straightforward in-your-face no apologies rock band from New York – New Jersey, and we’re not fucking around. We’re here to throw down, say what we have to say, get to the point, and if it’s in your face that’s the way it is around here. Sorry.”
Don’t take the apology tacked onto the end of his statement seriously. Allen is fiercely proud of what he and his bandmates have accomplished, especially given the fact they’ve had to deal with a sometimes painfully moronic prog metal fanbase that bitched and moaned Adrenaline Mob wasn’t progressive enough for having Allen and (now former) drummer Mike Portnoy (ex-Dream Theater) in the fold. A strange situation fuelled by people who claim to be music fans but don’t actually listen to the artists creating it. Adrenaline Mob made it clear from Day 1 they were an old school modern day rock band and not a prog metal side-project.
“It’s great when people like yourself get this, they get what Adrenaline Mob is about,” says Allen. “Nobody really knew what to do with us because of this whole prog background that me and Portnoy came from. People were scratching their heads, nobody knew how to book the act… they just didn’t fucking get it. Perception is everything in this world and the problem is people cling to their ideas of what they think they know about you. I don’t want to knock anybody, but the more educated people – in terms of educating themselves about your history – will go the extra mile and read a little more about you and read what you say. A lot of people didn’t bother to read the fine print, and Portnoy was talking about this in his interviews. The perception was that Adrenaline Mob was his band, but he came in after everything was written and my vocals were already recorded. It’s just the way the world works. People just cling to what they think they know and they’ll stand by that until the day they die even if they’re shown that they’re wrong (laughs).”
“The truth is I didn’t grow up listening to Emerson, Lake & Palmer or Rush like so many people want to believe. Did I like Rush? Yes. Was it in the rotation? Yes. But it was Led Zeppelin and Van Halen and Sabbath and Maiden that I was cranking in high school. Rush would come on and it would be great, but was I prog guy? No. That came later, when I wanted to grow musically. Everything on the record comes from something, whether intentional or unintentional. That’s the whole idea of trying to make music that’s accessible and immediate, that it kind of reminds you of something you’ve heard before. And that’s because everything already been done. Get over yourself.” Continue Reading